- The Oxford Handbook of Community Music
- Introduction: An Overview of Community Music in the Twenty-First Century
- Part I Contexts
- Community Music Contexts, Dynamics, and Sustainability
- Community Music Interventions in Post-Conflict Contexts
- Community Music in the South Pacific
- Community-Supported Music-Making As A Context For Positive And Creative Ageing
- Online Music Communities and Social Media
- How Ubiquitous Technologies Support Ubiquitous Music
- Music-Making Behind Bars: The Many Dimensions of Community Music in Prisons
- Part II Transformations
- Strategic Working with Children and Young People in Challenging Circumstances
- Community Music and Youth: Delivering Empowerment?
- Growing Community Music Through a Sense of Place
- Translating Intercultural Creativities in Community Music
- Community Musical Theatre and Interethnic Peace-Building in Malaysia
- Community Music Portraits of Struggle, Identity, and Togetherness
- Measuring Outcomes and Demonstrating Impact: Rhetoric and Reality in Evaluating Participatory Music Interventions
- Part III Politics
- Theorizing Arts Participation as a Social Change Mechanism
- Community Music in the United Kingdom: Politics or Policies?
- Community Music in Cultural Policy
- Rethinking Community Music as Artistic Citizenship
- The Ethics of Community Music
- Engaging in Policy-Making Through Community-Oriented Work
- Why Public Culture Fails at Diversity
- Part IV Intersections
- Community Music and Music Therapy: Jointly and Severally
- Disability Arts and Visually Impaired Musicians in the Community
- Group Singing and Quality of Life
- Community Music and Ethnomusicology
- Community Music and Rational Recreation
- Music Projects with Veteran and Military Communities
- Arts-Based Educational Research in Community Music
- Part V Education
- Community Music in Higher Education
- Models of Collaboration and Community Music
- A University Commitment to Collaborations with Local Musical Communities
- Community Service Learning with First Peoples
- Community Engagement and Lifelong Learning
- Community Music Practice with Adults
- Becoming a Community Musician: A Situated Approach to Curriculum, Content, and Assessment
Abstract and Keywords
The term ‘intercultural’ (as in ‘intercultural creativity’) acknowledges the complexity of locations, identities, and modes of expression in a global world, and the desire to raise awareness, foster intercultural dialogue, and facilitate understanding across and between cultures. In a globalized world faced with unprecedented challenges, intercultural communication and dialogue is considered key to facilitating possibilities that, previously, might not have been available to us. In this chapter, we identify how intercultural creativity can be recognized and evaluated in the practice of community musicians. The notion of ‘translation’ is related to the interrogation, not only of what intercultural creativity is, but also how it is experienced. This chapter features the work of Netherlands-based Musicians without Borders and UK-based Music Action International, and the voice of a Malaysia-based composer working in an intercultural environment. We examine collaboration between diverse communities and musicians. The chapter concludes with implications for educating and developing the community musician.
Pamela Burnard is a professor of Arts, Creativities, and Education at the University of Cambridge, Faculty of Education. She holds degrees in Music Performance, Music Education, Education, and Philosophy. Her primary research interests include the study of diverse and variegated creativities, the nexus of education, cultural and creative industries, and digital learning cultures and innovative practices, for which she is internationally recognized. She is convenor of the Creativities in Intercultural Arts Network (CIAN), the British Education Research Association Creativities in Education SIG, and Building Interdisciplinary Bridges Across Cultures (BIBAC) International Biennial Conference (http://www.bibac.org). Her recent books include Musical Creativities in Practice (OUP), Teaching Music Creatively (Routledge), Creative Teaching for Creative Learning in Higher Music Education (Ashgate), Activating Diverse Creativities in Higher Music Education (Bloomsbury), and Bourdieu and the Sociology of Music Education (Ashgate).
Valerie Ross is an accomplished composer and researcher with compositional awards from the Rockefeller Foundation, Commonwealth Foundation, and Japan Foundation. Her creative portfolio ranges from small intercultural ensemble pieces to full-evening ↵music-dance theatre productions. Valerie has received interdisciplinary research grants from the Ministry of Higher Education and Ministry of Science Technology and Innovation, Malaysia, and heads the Music Therapy, Rehabilitation, and Wellness Research Group at Universiti Teknology MARA. Recent book chapters and articles include ‘Framework for Intercultural Music Composition Research’ (Routledge, 2016), ‘Music intervention in eye—motion tracking of children with autism (Academic Journal of Science, 2015) and ‘Violinists playing with and without music notation during performance: Investigating hemispheric brainwave activity’ (Springer, 2014). Professor Ross is the director of the Centre for Intercultural Musicology at Churchill College, University of Cambridge (http://www.cimacc.org).
Laura Hassler was born and raised in New York. From an early age, she was active in US civil rights and peace movements. She studied cultural anthropology and music, then worked for social change organizations in the United States and Europe. After moving ↵to the Netherlands in 1977, she built a career in music. In 1999, Laura mobilized her large network of socially conscious musicians to found Musicians without Borders. Today, still drawing on this ever-broadening network, Musicians without Borders is one of the world’s pioneers in using music to bridge divides, build community, and heal the wounds of war.
Lis Murphy is an international performer, trainer, and music facilitator, and the founder and creative director of Music Action International (MAI), specializing in collaborative and creative music programmes to reduce the traumatic effects of war, torture, and armed conflict. Lis has delivered training programmes with traumatized children and adults in Bosnia-Herzegovina, Georgia, Palestine, and in Northern Ireland. Through MAI, she directs several initiatives supporting refugees and asylum seekers in the United Kingdom, including work with torture survivors, young refugees separated from their families, and young children in schools. For more information visit Music Action International (http://www.musicaction.org).
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.